Compassos Tempo Forte e fraco

COMPASSO

Acentuação – Em um trecho notam-se sons mais e menos acentuados, denominados acentos (ou tempos) fortes e fracos.

Compasso ou Mesura – É a medida de tempo entre dois acentos fortes. De forma simplificada, podemos dizer que é a divisão da música em pequenas partes. É a soma dos valores musicais contidos entre duas barras verticais dispostas na pauta. Essas linhas verticais recebem os nomes de travessão ou simplesmente barra de compasso. Os compassos são separados por estas barras, perpendiculares às linhas do pentagrama ou pauta musical, que vão da primeira à quinta linha, sem ultrapassá-las.



Para separar sessões da música, como uma mudança de tom, por exemplo, usa-se uma barra dupla. No caso de uma mudança de tom, a barra dupla é colocada no início do compasso alterado.



A barra dupla também é usada na conclusão da música, colocada no final do último compasso. Nesse caso, porém, a segunda linha (da direita) é mais espessa que a primeira. A barra final chama-se Pausa Final.



ESPÉCIES DE COMPASSOS

Os compassos podem ser de diferentes espécies: a dois tempos, a três tempos, a quatro tempos, etc. Todos, porém, derivam do compasso de dois tempos, que marca o passo do homem, o alternar do pêndulo, etc. Os compassos de três tempos são aumentados de um tempo, os de quatro tempos são compassos dobrados.

Exemplos de alguns compassos:

→ 2 Tempos – Compasso Binário



Obs: No compasso binário, toda figura pontuada é divisível por 2, quando o resultado de sua divisão for também uma figura pontuada.

→ 3 Tempos – Compasso Ternário



Obs: No compasso ternário cada figura pontuada vale ¾ da anterior e o triplo da seguinte.

→ 4 Tempos – Compasso Quaternário



→ 5 Tempos – Compasso Quinário



→ 7 Tempos – Compasso Setenário



TEMPOS FORTES, MEIO-FORTES E FRACOS

Como já se viu, de acordo com sua maior ou menor acentuação na escrita musical, os tempos são chamados fortes ou fracos.

O primeiro tempo do compasso é considerado forte, os demais são considerados meio-fortes ou fracos.

Exemplos:

Compasso Binário:

1º Tempo – Forte (F)

2º Tempo – Fraco (f)



Compasso Ternário:

1º Tempo – Forte (F)

2º Tempo – Fraco (f)

3º Tempo – Fraco (f)



Compasso Quaternário:

1º tempo – Forte (F)
2º tempo – Fraco (f)
3º tempo – Meio Forte (mF)
4º tempo – Fraco (f)



O compasso Quinário é considerado em duas hipóteses: como sendo equivalente à soma de um compasso ternário e um binário.

1º tempo – Forte (F)
2º tempo – Meio Forte (mF)
3º tempo – Fraco (f)
+
4º tempo – Forte (F)
5º tempo – Fraco (f)



Ou a soma de um compasso binário e um ternário.

1º tempo – Forte (F)
2º tempo – Fraco (f)
+
3º tempo – Forte (F)
4º tempo – Meio Forte (mF)
5º tempo – Fraco (f)



O compasso Setenário é considerado em duas hipóteses: como sendo equivalente à soma de um compasso quaternário e um ternário.

1º tempo – Forte (F)
2º tempo – Fraco (f)
3º tempo – Meio Forte (mF)
4º tempo – Fraco (f)
+
5º tempo – Forte (F)
6º tempo – Meio Forte (mF)
7º tempo – Fraco (f)



ou a soma de um compasso ternário e um quaternário.

1º tempo – Forte (F)
2º tempo – Meio Forte (mF)
3º tempo – Fraco (f)
+
4º tempo – Forte (F)
5º tempo – Fraco (f)
6º tempo – Meio Forte (mF)
7º tempo – Fraco (f)



UNIDADES DE TEMPO E DE COMPASSO

Unidade de Tempo – É a figura que preenche cada tempo de compasso.

Unidade de Compasso – É a figura que preenche completamente um compasso.



O tempo também se divide em partes fores e fracas. A primeira parte de um tempo é forte, as outras são fracas.

ANACRUSE – é uma nota ou um grupo de notas que antecedem o 1º tempo do 1º compasso de uma peça musical. Quando um compasso não iniciar com um tempo forte, ele estará em anacruse.

Quadro de unidades de tempo e compasso:



Compassos mais usados – Os compassos que têm como denominador a semínima são os mais usados.



É considerado também muito usado o compasso binário que tem como denominador a mínima.



Compassos menos usados – São os que têm como denominador a colcheia.




Também o compasso ternário cujo denominador é a mínima é usado, mas não freqüentemente.



Compassos não usados – São os compassos de 2/1, 3/1, 4/1 e 4/2, por possuírem valores maiores que a semibreve. Os compassos cujos denominadores são: 16, 32 e 64 não são mais usados a música moderna

Art Rock. Part 2 - Harmonic Concepts

This lesson will go more in depth about what was learned in Part 1. In this lesson, Metric and Harmonic modulation will be covered as well as some harmonic concepts.


Table of Contents:


01. Metric Modulation
1a. Simple Metric Modulation
1b. Complex Metric Modulation, Math Rock
1c. Mathematical Application To Time Signatures
1d. Practicing/composing
02. Chord Progressions And Harmonic Concepts
2a. Diatonic and Non-Diatonic Chords
2b. Chord Progressions with Pedal Tones
2c. Chord Progressions with a Moving Bass
2d. Harmonic Modulation
2e. Harmonic Modulation with Borrowed Notes
2f. Harmonic Modulation with Pitch Changes
2g. Harmonic Modulation with Pivot Chords
2h. Harmonic Modulation with Relative Keys
2i. Harmonic Modulation with Parallel Keys
03. Final Thoughts

Metric Modulation
Metric modulation is the changing of a time signature or tempo. Both are used in progressive music and add variety and originality to the music. When changing time signatures, the tempo should stay the same. A change in time signatures must sound as smooth as possible.

1a. Simple Metric Modulations
Simple metric modulation is when the time signature changes stay consistent and structured. Here are some simple and common examples to get started with. The first example starts in 4/4 and modulates to 3/4 for one measure, then goes back to 4/4. This kind of modulation can be found in almost every kind of music, even rap. The last two measures could be combined to make 7/4 (because 3+4=7) but using four measures is just simpler.
midi sample (Simple Metric Modulation)



4/4
H H H H H H
E||--0-----------2-----------|--5--------2--------|--0-----------2-----------|
B||--3-----------5-----------|--2--------3--------|--3-----------5-----------|
G||--0-----------0-----------|--4--------2--------|--0-----------0-----------|
D||--0-----------0-----------|--2--------0--------|--0-----------0-----------|
A||--0-----------0-----------|--2--------0--------|--0-----------0-----------|
E||--------------------------|--------------------|--------------------------|
1 2 3 4 1 2 3 4 1 2 3 4

3/4
E E E E E E
-----2--------------||
--------5-----------||
-----------0--------||
--------------0-----||
--0--------------0--||
--------------------||
1 + 2 + 3 +

The next example switches between 11/8 and 9/8 every bar (9/8 wasn't covered in the last lesson. It's 9 beats per measure and each eighth note gets one beat).


11/8 9/8
E E E E E E E E E E E E E E E E E E E E
E||-----9-----8-----6-----------------|-----6-----4-----3-----------|
B||--6-----6-----6-----6--9--8--------|--4-----4-----4-----4--------|
G||-----------------------------5--6--|-----------------------6--8--|
D||-----------------------------------|-----------------------------|
A||-----------------------------------|-----------------------------|
E||-----------------------------------|-----------------------------|
1 2 3 4 5 6 7 8 9 10 11 1 2 3 4 5 6 7 8 9

11/8 9/8
E E E E E E E E E E E E E E E E E E E E
-----9-----8-----6-----------6--8--|-----11-----9-----8------------|
--6-----6-----6-----6--8--9--------|--9------9-----9-----9--11--8--|
-----------------------------------|-------------------------------|
-----------------------------------|-------------------------------|
-----------------------------------|-------------------------------|
-----------------------------------|-------------------------------|
1 2 3 4 5 6 7 8 9 10 11 1 2 3 4 5 6 7 8 9
11/8
W Q.
--------------------------||
--9----------------L*-----||
--------------------------||
--------------------------||
--------------------------||
--------------------------||
1 2 3 4 5 6 7 8 9 10 11

*The L in the last measure means the note is sustained for the duration indicated... in this case a dotted quarter note.

The next example alternates between 3/4 and 5/8 each bar. Modulating like this may be hard and confusing because of the beat change.



3/4 5/8 3/4
E E E E E E E E E E E E E E E E E
E||--------------------|-----------------|--------------------|
B||-----------0--------|-----------0-----|-----------0--------|
G||--------2-----2-----|--------0-----0--|--------2-----2-----|
D||-----3-----------3--|-----3-----------|-----3-----------3--|
A||--5-----------------|--5--------------|--5-----------------|
E||--------------------|-----------------|--------------------|
1 + 2 + 3 + 1 2 3 4 5 1 + 2 + 3 +
5/8
E E E Q
----------------||
-----------1----||
--------0-------||
-----3----------||
--5-------------||
----------------||
1 2 3 4 5

1b. Complex Metric Modulation
When modulating between 3 or more different time signatures, it is referred to as complex metric modulation. Complex metric modulation can be structured (by following a repeating pattern or idea) or unstructured and spontaneous. A rather overlooked sub genre of progressive rock is "Math Rock" (or Tech Metal/Math metal/Mathcore etc.) Math rock, as it's name suggests, is a form or progressive rock that uses math as a musical outlet for creativity. Math rock puts a very untraditional, sometimes akward spin on standard rock/punk/acustic music by using complex metric modulation and rhythm patterns. Some of the more extreme math rock bands won't even think about using 4/4 or 3/4, but will use 13/8, 17/4, 11/8 and other crazy time signatures. Sometimes math rock will use odd grouping with meters, like 3, 5, or 7 bar riffs, rather than the traditional 4, 2, or 8 bars. This style of progressive music is very hard to write in because it sounds very unfamiliar to our ears. Some of the more popular math rock bands are Don Caballero, Breadwinner, and Bozart.

The example below is the introduction to a song I wrote. It uses elements of math rock and progressive rock by changing time signatures after every bar. The intorduction is 28 bars long, so I figured I would give a picture instead of actual text tablature. It will help to figure out the counting on your own.
midi sample (The Sky Is Missing)
jpeg files (The Sky Is Missing. Page 1 | Page 2)

1c. Mathematical Application To Time Signatures
Time signatures can be figured out in many ways. My favorite way is to think of them in terms of quarter notes. For example, 4/4 has 4 quarter notes in a measure. 3/4 has 3 quarter notes in a measure. 5/4 has 5 and 6/4 has 6. Now, if you look at a time signature like 7/8, you know that there are 7 eighth notes in a beat. Since 2 eighth notes = 1 quarter note, that would mean there are 3.5 quarter notes per measure. Look at it this way:



7/8 = 7 eighth notes
1 eighth note = 0.5 quarter note
0.5 x 7 = 3.5
7/8 = 3.5 quarter notes

You can figure out how many quarter notes are in any x/8 time signature using this method.

1d. Practicing/Composing
A good way to practice metric modulation is by using a metronome. Set the metronome to about 60bpm and play through a few of your original riffs in 4/4. Now take these riffs and add a few notes to them (5/4), then subtract (3/4). Finally, try to make a smooth transition between the riffs. Try doing this with other time signatures. Remember, it is very important that the tempo does not change when using/ practicing metric modulation. Here is an example that goes from 9/8 to 11/8 to 9/8 to 4/4 using the add/subtract idea:
midi sample (Metric Modulation Practice)



9/8 11/8
S S S Q S S S Q S S S S S S S Q S S S Q S S S S S S S S
E||---------------------------------|----------------------------------------|
B||---------------------------------|----------------------------------------|
G||*--------------------------------|----------------------------------------|
D||*-----------------2-4----5-4-----|-----------------2-4----5-4-------------|
A||---5-3-2-0----2-3------------5-2-|--5-3-2-0----2-3------------5-2-------2-|
E||---------------------------------|--------------------------------0-2-3---|

9/8 4/4
S S S Q S S S Q S S S S S S S S S S S S S S S S S S S S
--------------------------------|-----------------------------------||
--------------------------------|-----------------------------------||
--------------------------------|----------------------------------*||
-----------------2-4----5-4-----|--------------2-4-5-4-------------*||
--5-3-2-0----2-3------------5-2-|--5-3-2-0-2-3---------5-2-------2--||
--------------------------------|--------------------------0-2-3----||

4/4
W
-------------------||
-------------------||
-------------------||
-------------------||
-------------------||
--0----------------||

Another way of practicing is to count beats in your head. This can be done without your guitar so you can do it in a car, in school, wherever. You do this by modulating in your head with numbers. For example, you can count eighth notes and modulate between 4/4 and 7/8:


1, 2, 3, 4, 5, 6, 7, 8 - 1, 2, 3, 4, 5, 6, 7

or, 3/4 and 5/8


1, 2, 3, 4, 5, 6 - 1, 2, 3, 4, 5

or, 5/4 and 4/4


1, 2, 3, 4, 5, 6, 7, 8, 9, 10 - 1, 2, 3, 4, 5, 6, 7, 8

The possibilities are endless. Make sure to keep a steady tempo when doing this exercise. After you get good with eighth notes, try sixteenth notes, quarter notes, triplets, etc. I don't recommend mixing note values during mental practice because that may get too confusing.


Chord Progressions And Harmonic Concepts

Chord progressions in progressive music can go in almost any direction. The more chords used, the more complex the song will be. You could write a song where no chord is ever repeated, or a song with just a few diatonics. In progressive music, non-diatonic chords are used to make harmony more interesting.

2a. Diatonic And Non-Diatonic Chords
Basically, a diatonic progression is when all chords belong to the key. Here is the C major scale:



I ii iii IV V vi vii* I
C D E F G A B C

The roman numerals above indicate a major or minor triad. The upper case are major and the lower case are minor. The vii* is a diminished triad. A * is used in place of a circle, which is most common. This pattern of major/minor/diminished applies to all major scales. Only chords I, IV, and V are major, ii, iii, and vi are minor and the vii* is diminished. A non-diatonic chord is any chord that does not belong to the key. For example, if a song is in G major.


I ii iii IV V vi vii* I
G A B C D E F# G

And a C minor chord is used, it would be a non-diatonic chord. Non-diatonic chords can be used to change the key of a song, but can also add interest to the harmony.

2b. Chord Progressions With Pedal Tones
A pedal tone is a note that is repeated or sustained while the harmony changes over it. Pedal tones are commonly used in progressive rock to add color to a chord progression. In the below example in 5/4, E is used as the pedal tone:
midi sample (Pedal Tones)



5/4
E E E E E E E E E E E E E E E E E E E E
E||--------------------------------|--------------------------------||
B||--------------------------------|--------------------------------||
G||--9--------6-----4--------6-----|--8--------4-----4--------6-----||
D||--9--------6-----4--------6-----|--9--------6-----4--------6-----||
A||--7--------4-----2--------4-----|--7--------4-----2--------4-----||
E||-----0--0-----0-----0--0-----0--|-----0--0-----0-----0--0-----0--||

Pedal tones can also be played with the chords, like the example below, where A is the pedal tone:


4/4
H H H H
E||---0--------4--------|--7--------4---------||
B||---2--------2--------|--5--------2---------||
G||*--1--------2--------|--5--------2--------*||
D||*--2--------2--------|--5--------2--------*||
A||---0--------0--------|--0--------0---------||
E||---------------------|---------------------||

In the next example, in 7/4, the pedal tone is B and arpeggios are used instead of chords:


7/4
E E E H E E E H E E E E E E E E H.
E||--------------------------------------|-----------------------------------||
B||--------------------------------------|-----------------------------------||
G||-----------------------------4--------|-----------4-----------------------||
D||--------4--7--------------4-----------|--------4-----7--4-----------------||
A||-----5-----------------5--------------|-----5--------------5--------------||
E||--7-----------------7-----------------|--7--------------------5--7--------||

There are all kinds of ways to use pedal tones in chord progressions.

2c. Chord Progressions With A Moving Bass
A moving bass line is a great way to make a chord progression sound more melodic.
midi sample (Moving Bass)



4/4
E E E E E E E E E E E E E E E E
E||--------------------------|--------------------------||
B||--------------------------|--------------------------||
G||--------------------------|--------------------------||
D||-----5-----5-----5-----5--|-----5-----5-----5-----5--||
A||-----5-----5-----5-----5--|-----5-----5-----5-----5--||
E||--3-----2-----0-----2-----|--7-----5-----3-----2-----||

In the example below, the bass notes emphasize the power chords in the first measure. In the second measure they lead the F# power chord to the Bb7 power chord. In the third measure the root and fifth are played to bring it all to a close. Using notes other then the root in the bass is common in bass lines and is called an inversion.


7/4 5/4
Q E E E E E Q E E E E E Q E E E E H
E||--------------------------------------------|----------------------------|
B||--------------------------------------------|----------------------------|
G||--11----------11----------------------------|-------------------2--------|
D||--11-----------9--------9----------9--------|--4----------------4--------|
A||---9----9--9---7--7--7--9----------7--------|--4-------------0--2--------|
E||------------------------7----7--7--5--5--5--|--2----0--2--4--------------|

5/4
Q Q H E E
---------------------------||
---------------------------||
--4------------------6--4--||
--4---------4--------4--4--||
--2----2-------------2--2--||
---------------------------||

2d. Harmonic Modulation
Harmonic Modulation occurs when they key of the song is changed. Harmonic modulation is used a great deal in progressive music and gives the song variety and complexity.
Note: To understand this next section, a good solid background in diatonic harmony would be very helpful. Remember the formulas:


(1=root)
Basic major triads (1, M3, P5)
Basic minor triads (1, m3, P5)
Basic augmented triads (1, M3, #5)
Basic diminished triads (1, m3, b5)

In the first example, the key of G major will change to A major.


I ii iii IV V vi vii* I
GM: G A B C D E F# G
AM: A B C# D E F# G# A

Notice that the only note difference between G major and A major are C# and G#? The C# and G#, in A major, alter the chords in G major. For example in G major, the A (ii) chord is minor because it is spelled A-C-E. In A major, the A chord is spelled A-C#-E, making it major. Another difference is in G major, the F# (vii*) chord would be diminished because it is spelled F#-A-C. In A major, it would be minor because it is spelled F#-A-C#. G major has an E(vi) minor chord, spelled E-G-B. A major has a E(V) major chord, spelled E-G#-B. G major has C(IV) and G(I) natural chords in it, but A major does not. A major has a C#(iii) minor chord in it and a G#(vii*) diminished.

Those are all the differences within the two keys, now look at the similarities. G major and A major both share a Bm and a Dm. NOTE: Many of the examples below are very simple and un-progressive. As an optional excercise, try to put these chord progressions into odd time signatures, while using a more creative rhythm pattern.

2e. Harmonic Modulation With Borrowed Notes
Using borrowed notes isn't a key change. It is simply a way to add non-diatonic chords to a diatonic melody. In the example below, the key will not change from G major. Instead, it will use some chords from A major. The below example is extremely simple in rhythm and time signature. As a nice progressive exercise, try to put this chord progression into an odd time signature, while using a more creative rhythm pattern.
midi file (Borrowed Chords)



(Bc = Borrowed Chord)

4/4
Bc Bc
GM DM CM GM AM EM CM DM GM
Q Q Q Q Q Q Q Q W
E||--3----2----0----3----|--0----0----0----2----|--3----------------||
B||--0----3----1----0----|--2----0----1----3----|--0----------------||
G||--0----2----0----0----|--2----1----0----2----|--0----------------||
D||--0----0----2----0----|--2----2----2----0----|--0----------------||
A||--2---------3----2----|--0----2----3---------|--2----------------||
E||--3--------------3----|-------0--------------|--3----------------||

2f. Harmonic Modulation With Pitch Changes
Often times in progressive music, a chord progression is played exactly the same way, just up or down in pitch.
midi sample (Pitch Changes)


4/4
Up a major 2nd Down a perfect 4th
Q Q Q Q Q Q Q Q Q Q Q Q
E||--3----3----5----3----|--5----5----7----5----|--0----0----2----0----|
B||--3----4----6----4----|--5----6----8----6----|--0----1----3----1----|
G||--3----5----7----5----|--5----7----9----7----|--0----2----4----2----|
D||--5----5----7----5----|--7----7----9----7----|--2----2----4----2----|
A||--5----3----5----3----|--7----5----7----5----|--2----0----2----0----|
E||--3----3----5----3----|--5----5----7----5----|--0----0----2----0----|

Up a minor 3rd
W
--3----------------||
--3----------------||
--3----------------||
--5----------------||
--5----------------||
--3----------------||

2g. Harmonic Modulation With Pivot Chords
In a lot of music, a I chord comes after a V chord. Our ears are used to hearing this. So using the V chord as a pivot chord is a great way to get into a new key. The example below shows a harmonic modulation between G major and F major by using a pivot chord. In G major, the V chord is a DM. In F major, the V chord is a CM, but is only a IV chord in G major. So to make a C(IV) chord into a C(V) chord, we make it a dominant C chord. This gives it a feeling of being a V chord. The progression goes GM, DM, C7, FM. Of course, this example is very short and simple. Normally it would be longer to establish the keys.
midi sample (Pivot Chords)


4/4
C7
Q Q Q Q
E||--3----2----3----1----||
B||--0----3----5----1----||
G||--0----2----3----2----||
D||--0----0----5----3----||
A||------------3----3----||
E||-----------------1----||

2h. Harmonic Modulation With Relative Keys
In every major key there is a relative minor key that has the exact same notes in it, just in a different order. The best example is C major and A minor. They both have all natural notes in them, but sound very different.


Major: C D E F G A B C
Minor: A B C D E F G A

This is also how modes work. If the scale is started on a different note, it will be in a different mode. The major mode (C major) is also called the Ionian mode and the minor mode (A minor) is also called the Aeolian mode. Going to a relative minor/major key will not change the key of the song, so technically it's not harmonic modulation. It is, however, a very easy way to give a song a different feel. In the below example, G major will turn to E minor. Remember: The relative minor of any major key is the 6th degree of the scale and the relative major of any minor key is the 3rd degree of the scale.
midi sample (Relative Keys)


4/4
GM: Em:
Q Q Q Q Q Q Q Q
E||--3----0----2----3----|--0----0----2----0----||
B||--0----1----3----0----|--0----1----3----0----||
G||--0----0----2----0----|--0----2----4----0----||
D||--0----2----0----0----|--2----2----4----2----||
A||--2----3---------2----|--2----0----2----2----||
E||--3--------------3----|--0--------------0----||

2i. Harmonic Modulation With Parallel Keys
Every key has a parallel key such as G major is parallel to G minor, C minor is parallel to C major, F# major is parallel to F# minor, etc. Changing a major key to a minor key or vise versa is called mutation. In the example below, E minor will mutate to E major.
midi sample (Mutation)


4/4
Em Am GM Em EM AM BM EM
Q Q Q Q Q Q Q Q
E||--0----0----3----0----|--0----0----2----0----||
B||--0----1----0----0----|--0----2----4----0----||
G||--0----2----0----0----|--1----2----4----1----||
D||--2----2----0----2----|--2----2----4----2----||
A||--2----0----2----2----|--2----0----2----2----||
E||--0---------3----0----|--0--------------0----||

Final Thoughts
Hopefully you have learned a lot about harmony and time signatures in this lesson. If you found this lesson confusing, maybe you should consider taking music theory lessons. There is no good substitute for a teacher, so if your stuck, ask someone. Now, using the information you have learned, go write some music. The more you apply these concepts, the more you will understand them. Good luck, and keep creating original progressive music

Art Rock. Part 1 - Progressive Concepts

This lesson will teach you how to compose and play art rock. You will learn progressive chords, scales, rhythm patterns, odd time signatures, and the music theory behind it all. The material covered in this lesson will be much eaiser to understand if you have a basic knowledge in music theory and a good, solid idea of how time signatures work. This will all be briefly covered in this lesson, but it would be much less confusing if you have prior knowledge.


Progressive Music

Progressive music goes beyond the limits of basic, everyday rock 'n' roll. It expands the horizons of what rock music really can be. It breaks some of the rules by fusing elements of rock, metal, jazz, blues, classical and more all into one style. This lesson will provide you with some basics, such as: chord shapes, scales, and some basic rhythm patterns for commonly used odd time signatures. Creativly applying these ideas to your music is your job.


Chords

01. Power Chords.
Power Chords are primarily used in most rock music. Progressive rock is no different. But sometimes the basic power chord gets kind of boring. That's why many progressive rock bands uses power chord extensions and inversions to add more of a variety in progressions. Extentions are simply added scale tones applied to the chord. For example, an add6 power chord adds the 6th note of the scale to the chord. Most power chord extensions still use the root and the 5th, but also add something extra.
An inverted power chord is when any note other than the root is in the bass.

This is the C Major Scale (Ionian mode):



C D E F G A B C D E F G A B C
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15
(1) (2) (3) (4) (5) (6) (7) (8) (9)

The basic power chord has the root (1), 5th, and most times an 8th (octive). So a basic C power chord would be CGC. A Cadd9 power chord would be CGD, and a Cadd6 would be CEA.

Open And Movable.



Basic power chords:
E|--------------------|------------3----6--|
B|--------------------|--3----6----3----6--|
G|------------2----5--|--2----5----0----3--|
D|--2----5----2----5--|--0----3------------|
A|--2----5----0----3--|--------------------|
E|--0----3------------|--------------------|

Basic power chords (inverted):
E|--------------------|
B|--------------------|
G|------------2----5--|
D|--2----5----2----5--|
A|--0----3----0----3--|
E|--0----3----0----3--|

Add6 power chords:
E|--------------------|------------0----1--|
B|--------------------|--0----1----3----4--|
G|------------0----1--|--2----3----0----1--|
D|--0----1----3----4--|--0----1------------|
A|--3----4----1----2--|--------------------|
E|--1----2------------|--------------------|

Add7 power chords:
E|--------------------|------------2----5--|
B|--------------------|--2----5----3----6--|
G|------------1----4--|--2----5----0----3--|
D|--1----4----2----5--|--0----3------------|
A|--2----5----0----3--|--------------------|
E|--0----3------------|--------------------|

AddB7 power chords:
[the B is a flat sign and indicates that the note is flatted.
So instead of B it would be Bb (B flat)].
E|--------------------|------------1----4--|
B|--------------------|--1----4----3----6--|
G|------------0----3--|--2----5----0----3--|
D|--0----3----2----5--|--0----3------------|
A|--2----5----0----3--|--------------------|
E|--0----3------------|--------------------|

Add9 power chords:
E|--------------------|--0--------1--|
B|--------------------|--3--------4--|
G|------------4----7--|--2--------3--|
D|--4----7----2----5--|--0--------1--|
A|--2----5----0----3--|--------------|
E|--0----3------------|--------------|

02. Non Power Chords.
Progressive rock uses an array of chords that are not power chords. Here are some commonly used progressive chords. Of course, the chords below are just a few examples of a open and movable forms. There are many other ways to form the same chords on your guitar, but I'm not going to show all of them.

03. Triads..
Basic triads consist of the 1st, 3rd, and 5th degrees of a scale. The 3rd is what makes the chord major or minor depending on what kind of interval it uses. The 5th can be altered to make the chord augmented or diminished. A Perfect fifth is used in major an minor chords. A tritone (one semitone down from a perfect fifth) makes the chord diminished and by raising a perfect fifth up one semitone, you get an augmented chord.



Basic major triads (1, M3, P5):
E|-----------------1--|
B|------------1----3--|
G|-------1----2----3--|
D|--1----3----3-------|
A|--3----4------------|
E|--4-----------------|

Basic minor triads (1, M3, P5):
E|-----------------1--|
B|------------2----2--|
G|-------1----2----3--|
D|--1----2----4-------|
A|--2----4------------|
E|--4-----------------|

Basic augmented triads (1, M3, #5):
E|-----------------1--|
B|------------1----2--|
G|-------1----1----2--|
D|--1----2----2-------|
A|--2----3------------|
E|--3-----------------|

Basic diminished triads (1, M3, B5):
E|-----------------1--|
B|------------1----3--|
G|-------1----2----4--|
D|--1----3----4-------|
A|--3----5------------|
E|--5-----------------|

04. Major7 Chords.
Major7 chords add the leading tone, or the 7th note in a scale to the chord:


7M chords (1, M2, P5, M7):
E|--0----0----1----3--|
B|--0----0----1----3--|
G|--1----0----2----3--|
D|--1----2----2----1--|
A|--2----3----3-------|
E|--0---------1-------|

05. Add9 Chords.
Add9 chords are major or minor triads with an added 9th. The 5th is not always used. Personally, these are my favorites.


Add 9 major chords (1, M3, P5, M9):
E|--0----2----1----1--|
B|--2----5----1----3--|
G|--4----2----2----5--|
D|--2----0----5----3--|
A|--0---------3----1--|
E|------------1-------|

Add 9 minor chords (1, m3, P5, M9):
E||--0----0----1----1----||
B||--0----0----1----2----||
G||--0----5----1----5----||
D||--4----7----5----3----||
A||--2----0----3----1----||
E||--0---------1---------||

06. Add 11 Chords.
Add11 Chords are major or minor chords with an added 11th (or 4th). The 5th is not always used.


Add 11 major chords (1, M3, P5, M11):
E|-------1----1----1--|
B|--1----1----1----3--|
G|--0----0----2----3--|
D|--0----2----3----1--|
A|--2----3----1----1--|
E|--3---------1-------|

Add 11 minor chords (1, m3, P5, M11):
E|-------1----1----1--|
B|--1----1----1----2--|
G|--0----0----1----3--|
D|--0----1----3----1--|
A|--1----3----1----1--|
E|--3---------1-------|

07. Suspended Chords.
Suspended chords are neither major nor minor. Basically there are two types: sus2 and sus4. The formula for a sus2 chord is (1, M2, P5). It replaces the 3rd with a 2nd. The formula for a sus4 is (1, P4, P5). It replaces the 3rd with a perfect fourth. There is also the 7sus2 and 7sus4 chord. The 7sus2 chord has a dominant 7th, which is constructed (1, M2, P5, M7). The 7sus4 is constructed: (1, P4, P5, M7).


sus2 chords (1, M2, P5):
E|--0----0----2----1--|
B|--0----3----2----4--|
G|--2----2----4----3--|
D|--2----0----4----1--|
A|--0---------2-------|
E|--------------------|

sus4 chords (1, P4, P5):
E|--3----1----1----4--|
B|--3----1----1----4--|
G|--0----0----3----3--|
D|--0----3----3----1--|
A|--3----3------------|
E|--3-----------------|

7sus2 (1, M2, P5, M7):
E|--1------3----1------1--|
B|--3------1----4------1--|
G|--0------3----3------3--|
D|--0------0----1------1--|
A|--0------3----4------1--|
E|--3------------------1--|

7sus4 (1, P4, P5, M7):
E|--3----0---------1--|
B|--1----3---------4--|
G|--2----0----3----1--|
D|--0----2----1----3--|
A|-------0----3----1--|
E|------------1-------|

Progressive Scales

Progressive rock guitarists use a variety of scales in their soloing and song writing. Some are standard, some are exotic. The exotic scales will give a song a much different feel if used right.

01. Major And Minor Scales.
The basic major and minor scales are popular in most music. To make them sound a little different, start and end the scale on a different note. This will put you into a different mode, giving you a different feel. This idea is popular among many progressive guitarists. I'm only going to put the major and minor scales here. There are many other places to learn the modes.
midi sample (C Ionian + A Aeolian)



C major scale [Ionian mode] - (C, D, E, F, G, A, B, C)
E|---------------------------------7-8--|
B|----------------------------8-10------|
G|---------------------7-9-10-----------|
D|--------------7-9-10------------------|
A|-------7-8-10-------------------------|
E|--8-10--------------------------------|

A minor scale [Aeolian mode] - (A, B, C, D, E, F, G, A)
E|------------------------------5--|
B|------------------------5-6-8----|
G|------------------4-5-7----------|
D|--------------5-7----------------|
A|--------5-7-8--------------------|
E|--5-7-8--------------------------|

The Harmonic Minor Scale.
The harmonic minor scale is the minor scale with a sharped 7th, also known as a leading tone. The sharped 7th makes the scale have more of a "pulling effect" at the last note. The Phrygian mode starts on the 5th note of the scale. If you play the A harmonic minor scale starting on the 5th note (E), you will get the phrygian dominant scale, also sometimes refereed to as the Spanish scale. There are, of course, other modes of the harmonic minor scale which all give off a different effect.
A lot of middle eastern music uses the harmonic minor scale, and that may be the first thing that comes to mind when hearing it. The harmonic minor can also be found in classical and Spanish music. Today, it can be found in all kinds of music, including progressive.
midi sample (A Harmonic Minor + E Phrygian Dominant)


A harmonic minor scale (A, B, C, D, E, F, G#, A):
E|----------------------------4-5--|
B|------------------------5-6------|
G|------------------4-5-7----------|
D|--------------6-7----------------|
A|--------5-7-8--------------------|
E|--5-7-8--------------------------|

E Phrygian Dominant Mode (E, F, G#, A, B, C, D, E):
E|--------------------------------------------12--|
B|-----------------------------------12-13-15-----|
G|-----------------------------13-14--------------|
D|--------------------12-14-15--------------------|
A|--------11-12-14-15-----------------------------|
E|--12-13-----------------------------------------|

The Melodic Minor Scale.
The melodic minor scale, sometimes called the jazz minor scale, is the minor scale with a sharped 6th and 7th. If you want, you can also think of it as the major scale with a flatted 3rd. It can, if used right, give a jazzy feel to a solo. In formal composition, some composers will ascend with the melodic minor and descend with the natural minor. The mode of interest in this scale is the Lydian B7 mode. It is the Lydian mode with a flatted 7th.
midi sample (A Meodic Minor + A Meodic to A Natural + F Lydian B7)


A melodic minor scale (A, B, C, D, E, F#, G#, A):
E|----------------------------4-5--|
B|------------------------5-7------|
G|------------------4-5-7----------|
D|------------4-6-7----------------|
A|--------5-7----------------------|
E|--5-7-8--------------------------|

A melodic minor to a natural minor:
E|----------------------------4-5------------------------------|
B|------------------------5-7-----8-6-5------------------------|
G|------------------4-5-7---------------7-5-4------------------|
D|------------4-6-7---------------------------7-5--------------|
A|--------5-7-------------------------------------8-7-5--------|
E|--5-7-8-----------------------------------------------8-7-5--|

F Lydian B7 mode (F, G, A, B, C, D, Eb, F):
E|--------------------------------------------13--|
B|--------------------------------12-13-15-16-----|
G|--------------------------12-14-----------------|
D|-----------------12-13-15-----------------------|
A|--------12-14-15--------------------------------|
E|--13-15-----------------------------------------|

Symmetrical Scales.
Symmetrical scales follow a repeating pattern and have a rather untraditional sound to them. Whole tone scales are 6 note scales that only use major seconds, or whole steps (2 half steps). The leading whole tone scale isn't symmetrical, but still takes the same basic form of the whole tone scale, up until the 7th note which is added as the leading tone. This gives it a pulling, more conclusive sound.

There are also the half-whole and whole-half scales that are frequently used along with the whole tone scale. The half-whole uses one half step, one whole step, one half step, one whole step, etc. The Whole-half is the same idea, but backwards. Since these scales are neither minor, nor major, they have no modes and will make the song sound neutral and rather untraditional. They can easily be used over chords that are unresolved or neutral (such as sus chords), or diminished. I think they make good fills, but there are endless possibilities of how they can be used.
midi sample (Symmetrical Scales)



C whole tone scale (C, D, E, F#, G#, A#, C):
E|-----------------------4-6--|
B|-------------------5-7------|
G|---------------5-7----------|
D|-----------6-8--------------|
A|-------7-9------------------|
E|--8-10----------------------|

C leading whole tone scale (C, D, E, F#, G#, A#, B, C):
E|-------------------------4-6-7-8--|
B|---------------------5-7----------|
G|-----------------5-7--------------|
D|-----------6-8-9------------------|
A|-------7-9------------------------|
E|--8-10----------------------------|

C half-whole scale (C, C#, D#, E, F#, G, A, A#, C):
E|------------------------------------6-8--|
B|-----------------------------7-8-10------|
G|-----------------------6-8-9-------------|
D|----------------7-8-10-------------------|
A|---------7-9-10--------------------------|
E|--8-9-11---------------------------------|

C whole-half scale (C, D#, F, F#, G#, A, B, C):
E|--------------------------------------7-8--|
B|-------------------------------7-9-10------|
G|------------------------7-8-10-------------|
D|-----------------7-9-10--------------------|
A|----------8-9-11---------------------------|
E|--8-10-11----------------------------------|

Rhythms In Tablature

4/4 is most likely the most common time signature in music. It means that there are four beats in a measure and each quarter note gets one beat. Some examples:
midi sample (4/4 Rhythms)



Duration Legend
---------------
W - whole
H - half
Q - quarter
E - 8th
S - 16th
|-n-| - n-tuplets

W
E||-------------------||
B||-------------------||
G||-------------------||
D||-------------------||
A||-------------------||
E||--3----------------||
1 2 3 4

A whole note (W) takes up the whole measure. It is sustained for four beats.


H H
E||--------------------||
B||--------------------||
G||--------------------||
D||--------------------||
A||--------------------||
E||--3--------3--------||
1 2 3 4

A half note (H) takes up half the measure and are sustained for two beats.


Q Q Q Q
E||----------------------||
B||----------------------||
G||----------------------||
D||----------------------||
A||----------------------||
E||--3----3----3----3----||
1 2 3 4

A quarter note (Q) takes up a quarter of the measure are are sustained for one beat.


E E E E E E E E
E||--------------------------||
B||--------------------------||
G||--------------------------||
D||--------------------------||
A||--------------------------||
E||--3--3--3--3--3--3--3--3--||
1 & 2 & 3 & 4 &

An eighth note (E) takes up an eighth of the measure and is sustained for a half a beat. They can be played in between a beat (called an offbeat) and are represented with &'s. Two of them can be played within one beat.


S S S S S S S S S S S S S S S S
E||----------------------------------||
B||----------------------------------||
G||----------------------------------||
D||----------------------------------||
A||----------------------------------||
E||--3-3-3-3-3-3-3-3-3-3-3-3-3-3-3-3-||
1 e & a 2 e & a 3 e & a 4 e & a

A sixteenth note (S) takes up a sixteenth of a measure. They are represented with e's, &'s, and a's (ah)'s. Four of them can be played within one beat.


|--3--| |--3--| |--3--| |--3--|
E E E E E E E E E E E E
E||--------------------------------------||
B||--------------------------------------||
G||--------------------------------------||
D||--------------------------------------||
A||--------------------------------------||
E||--3--3--3--3--3--3--3--3--3--3--3--3--||
1 la le 2 la le 3 la le 4 la le

A triplet (indicated by the |--3--|) means there are 3 notes within each beat. The offbeats are represented with la's and le's (spoken as lee).

Odd Time Signatures.
Although 4/4 is the most common time signature in most rock music, it can get a little old. Composing music in an odd time signature gives your music more originality and complexity, which is what progressive music is all about. It's not easy to jump right into composing using an odd time signature at first. It takes practice. Odd time signatures are called "odd" because they use numbers (on the top) that are not divisible by two, such as 5/4, 7/4, 3/4, etc.

3/4 Time Signature.
3/4 means there are 3 beats per measure and each quarter note gets one beat.



H. H Q Q Q Q E E E E E E
E||---------------|----------------|-----------------|--------------------|
B||---------------|----------------|-----------------|--------------------|
G||---------------|----------------|-----------------|--------------------|
D||---------------|----------------|-----------------|--------------------|
A||---------------|----------------|-----------------|--------------------|
E||--3------------|--3--------3----|--3----3----3----|--3--3--3--3--3--3--|
1 2 3 1 2 3 1 2 3 1 & 2 & 3 &

|--3--| |--3--| |--3--|
S S S S S S S S S S S S E E E E E E E E E
--------------------------|-----------------------------||
--------------------------|-----------------------------||
--------------------------|-----------------------------||
--------------------------|-----------------------------||
--------------------------|-----------------------------||
--3-3-3-3-3-3-3-3-3-3-3-3-|--3--3--3--3--3--3--3--3--3--||
1 e & a 2 e & a 3 e & a 1 la le 2 la le 3 la le

Above are examples of completed measures. The (H.) means a dotted half note, which adds a quarter note to the length of the half note.

3/4 Rhythms In Progressive Music.
midi sample (3/4 Rhythms)
In the below example, full chords are played on the first beat in quarter notes and appeggeated with eighth notes on the second and third beats.



Emadd9 Emadd9 Em
Q E E E E Q E E E E Q E E E E
E||--0------0-----------|--2------2-----------|--0----0-----------|
B||--0---------0--------|--0---------0--------|--0-------0--------|
G||--0------------0-----|--0------------0-----|--0----------0-----|
D||--4---------------4--|--2---------------2--|--2-------------2--|
A||--2------------------|--2------------------|--2----------------|
E||--0------------------|--0------------------|--0----------------|
1 (&) 2 & 3 & 1 (&) 2 & 3 & 1(&) 2 & 3 &

Am9 Em
Q E E E E H.
--3----3-----------|--0------------||
--1-------1--------|--0------------||
--4----------4-----|--0------------||
--2-------------2--|--2------------||
--0----------------|--2------------||
-------------------|--0------------||
1(&) 2 & 3 & 1 2 3

Below is a triplet pattern, when the arpeggio is changed every first beat.


|--3--| |--3--| |--3--| |--3--| |--3--| |--3--|
E E E E E E E E E E E E E E E E E E
E||-----------------------------|-----------------------------|
B||-----------------------------|-----------------------------|
G||--------0--------0--------0--|--------0--------0--------0--|
D||-----9--------9--------9-----|-----9--------9--------9-----|
A||--7--------7--------7--------|--9--------9--------9--------|
E||-----------------------------|-----------------------------|
1 la le 2 la le 3 la le 1 la le 2 la le 3 la le

|--3--| |--3--| |--3--| |--3--| |--3--| |--3--|
E E E E E E E E E E E E E E E E E E
-----------------------------|-----------------------------||
-----------------------------|-----------------------------||
--------0--------0--------0--|--------0--------0--------0--||
-----9--------9--------9-----|-----7--------7--------7-----||
--7--------7--------7--------|--5--------5--------5--------||
-----------------------------|-----------------------------||
1 la le 2 la le 3 la le 1 la le 2 la le 3 la le

The last 3/4 example uses a pattern of eighth notes and sixteenth notes. The "e" is left out of the rhythm, possibly giving a "galloping" effect.


E S S E S S E S S E S S E S S E S S
E||-----------------------------|-----------------------------||
B||-----------------------------|-----------------------------||
G||-----------------------------|-----------------------------||
D||-----------------------------|-----------------------------||
A||--5--------4--------5--------|--2--------1--------2--------||
E||--3--0--0--3--0--0--3--0--0--|--0--0--0--0--0--0--0--0--0--||
1 & a 2 & a 3 & a 1 & a 2 & a 3 & a

5/4 Time Signatures.
5/4 means there a 5 beats in a measure and each quarter note gets one beat. You can think of it as 4/4 plus one quarter note, or 3/4 and 2/4. Another way is to count quarter notes as: 1, 2, 3 - 1, 2 or 1, 2 - 1, 2, 3. Here are a few examples of completed measures.


W Q Q Q Q Q Q
E||------------------------|---------------------------|
B||------------------------|---------------------------|
G||------------------------|---------------------------|
D||------------------------|---------------------------|
A||------------------------|---------------------------|
E||--3----------------3----|--3----3----3----3----3----|
1 2 3 4 5 1 2 3 4 5

E E E E E E E E E E S S S S S S S S S S S S S S S S S S S S
--------------------------------|------------------------------------------||
--------------------------------|------------------------------------------||
--------------------------------|------------------------------------------||
--------------------------------|------------------------------------------||
--------------------------------|------------------------------------------||
--3--3--3--3--3--3--3--3--3--3--|--3-3-3-3-3-3-3-3-3-3-3-3-3-3-3-3-3-3-3-3-||
1 & 2 & 3 & 4 & 5 & 1 e & a 2 e & a 3 e & a 4 e & a 5 e & a

5/4 Rhythms In Progressive Music.
midi sample (5/4 Rhythms)
Below is a whole note for 4 beats and a quarter note for the last.


Dm D7sus2/5-
W Q
E||--1----------------0---------||
B||--3----------------1---------||
G||--2----------------1---------||
D||--0----------------0---------||
A||-----------------------------||
E||-----------------------------||
1 2 3 4 5

Below is an example of Dream Theater's "Beyond This Life" intro. It uses eighth notes. You can break this song up as 1-2-3, 1-2-3, 1-2, 1-2.


E E E E E E E E E E E E E E E E E E E E
E||--------------------------------|--------------------------------|
B||--------------------------------|--------------------------------|
G||--------------------------------|--------------------------------|
D||--6--6--6--9--9--9--5--5--4--4--|--6--6--6--9--9--9--5--5--4--4--|
A||--6--6--6--9--9--9--5--5--4--4--|--6--6--6--9--9--9--5--5--4--4--|
E||--4--4--4--7--7--7--3--3--2--2--|--4--4--4--7--7--7--3--3--2--2--|
1 & 2 & 3 & 4 & 5 & 1 & 2 & 3 & 4 & 5 &

E E E E E E E E E E E E E E E E E E E E
--------------------------------|-----------------------------------||
--------------------------------|-----------------------------------||
--------------------------------|-----------------------------------||
--6--6--6--9--9--9--5--5--4--4--|--10--10--10--9--9--9--8--8--7--7--||
--6--6--6--9--9--9--5--5--4--4--|--10--10--10--9--9--9--8--8--7--7--||
--4--4--4--7--7--7--3--3--2--2--|---8---8---8--7--7--7--6--6--5--5--||
1 & 2 & 3 & 4 & 5 & 1 & 2 & 3 & 4 & 5 &

Here is another example using eighth notes. In this example, the last note could resolve back to the root.


E E E E E E E E E E
E||------------------------------------------|
B||------------------------------------------|
G||------------------------------------------|
D||------------------10--12--10--------------|
A||--------------12--------------12----------|
E||--10--12--13----------------------13--12--|
1 & 2 & 3 & 4 & 5 &

E E E E E E E E E E
---------------------------------------|
---------------------------------------|
---------------------------------------|
-----------------8--10--8--------------|
-------------10------------10----------|
--8--10--11--------------------11--10--|
1 & 2 & 3 & 4 & 5 &

E E E E E E E E E E W Q
-------------------------------------8--|--10----------------------||
---------------------------------10-----|--------------------------||
--------------------------9--10---------|--------------------------||
------------------10--12----------------|--------------------------||
--------------12------------------------|--------------------------||
--10--12--13----------------------------|--------------------------||
1 & 2 & 3 & 4 & 5 & 1 2 3 4 5

The last example, using the whole tone scale, has quarter notes and sixteenth notes in it.


A#7
Q S S S S Q S S S S Q
E||---------------------------------||
B||---------------------------------||
G||---------------------------------||
D||--6----6-4-----6----6-4-----7----||
A||--5--------7-5-5--------7-5-5----||
E||--6------------6------------6----||
1 2 e & a 3 4 e & a 5

7/4 Time Signatures.
7/4 means there are 7 beats in a measure and each quarter note gets one beat. You can think of 7/4 as 3/4 + 4/4 or 2/4 + 2/4 + 3/4. Here are some completed measures:


W H. Q Q Q Q Q Q Q
E||--------------------------------|-------------------------------------|
B||--------------------------------|-------------------------------------|
G||--------------------------------|-------------------------------------|
D||--------------------------------|-------------------------------------|
A||--------------------------------|-------------------------------------|
E||--3----------------3------------|--3----3----3----3----3----3----3----|
1 2 3 4 5 6 7 1 2 3 4 5 6 7

E E E E E E E E E E E E E E
--------------------------------------------|
--------------------------------------------|
--------------------------------------------|
--------------------------------------------|
--------------------------------------------|
--3--3--3--3--3--3--3--3--3--3--3--3--3--3--|
1 & 2 & 3 & 4 & 5 & 6 & 7 &

S S S S S S S S S S S S S S S S S S S S S S S S S S S S
----------------------------------------------------------||
----------------------------------------------------------||
----------------------------------------------------------||
----------------------------------------------------------||
----------------------------------------------------------||
--3-3-3-3-3-3-3-3-3-3-3-3-3-3-3-3-3-3-3-3-3-3-3-3-3-3-3-3-||
1 e & a 2 e & a 3 e & a 4 e & a 5 e & a 6 e & a 7 e & a

7/4 Rhythms In Progressive Music.
midi sample (7/4 Rhythms)
One of the most popular examples of 7/4 is Pink Floyd's Money.


Q E E E E Q Q E E Q
E||----------------------------------------||
B||----------------------------------------||
G||-------4--------------------------------||
D||----------4-----------------------------||
A||--2----------2---------------2-----5----||
E||-------------------2----5---------------||
1 2 + 3 + 4 5 6 + 7

The next example uses quarter notes and eighth notes, a common mixture when using 7/4.


Q E E Q Q Q E E Q
E||---------------------------------------|
B||---------------------------------------|
G||---------------------------------------|
D||-------6--4-----------------4--6--7----|
A||--4----------4----6----7---------------|
E||---------------------------------------|
1 2 + 3 4 5 6 + 7

E E E E Q Q Q Q Q
---------------------------------------||
---------------------------------------||
---------------------------------------||
--6--4--------4------------------------||
--------7--6-------6--------------4----||
------------------------7----7---------||
1 + 2 + 3 4 5 6 7

Another example using quarter and eighth notes.


Q E E Q E E Q E E Q
E||----------------------------------------||
B||----------------------------------------||
G||----------------------------------------||
D||--3----3-----5----5-----8----8-----6----||
A||--3-------3--4-------4--6-------6--6----||
E||--1----------3----------4----------4----||
1 2 + 3 4 + 5 6 + 7

7/8 Time Signatures.
In 7/8, the eighth note gets one beat. It's 4/4 without one eight note. 7/8 has 7 eight notes per measure. A good way to make up eighth note rhythms is counting 1, 2 - 1, 2 - 1, 2, 3 or 1, 2 - 1, 2, 3 - 1, 2 or 1, 2, 3 - 1, 2 - 1, 2.
Here are some completed measures. Don't forget the counting is based on eighth notes.


H Q E Q Q Q E E E E E E E E
E||-------------------|--------------------|-----------------------|
B||-------------------|--------------------|-----------------------|
G||-------------------|--------------------|-----------------------|
D||-------------------|--------------------|-----------------------|
A||-------------------|--------------------|-----------------------|
E||--3--------3----3--|--3----3----3----3--|--3--3--3--3--3--3--3--|
1 2 3 4 5 6 7 1 2 3 4 5 6 7 1 2 3 4 5 6 7

S S S S S S S S S S S S S S
------------------------------||
------------------------------||
------------------------------||
------------------------------||
------------------------------||
--3-3-3-3-3-3-3-3-3-3-3-3-3-3-||
1 + 2 + 3 + 4 + 5 + 6 + 7 +

7/8 Rhythms In Progressive Music.
midi sample (7/8 Rhythms)
This example uses each pattern of counting eighth notes.


1 2 1 2 1 2 3 1 2 1 2 3 1 2 1 2 3 1 2 1 2
E E E E E E E E E E E E E E E E E E E E E
E||-----------------------|-----------------------|-----------------------||
B||-----------------------|-----------------------|-----------------------||
G||-----------------------|-----------------------|-----------------------||
D||-----5-----5--------5--|-----5--------5-----5--|--------5-----5-----5--||
A||-----------------5-----|-----------5-----------|-----5-----------------||
E||--3-----3-----3--------|--3-----3--------3-----|--3--------3-----3-----||
1 2 3 4 5 6 7 1 2 3 4 5 6 7 1 2 3 4 5 6 7

The next example is a very common rhythm pattern for 7/8 in progressive rock.


H. E H. E H. E H. E
E||------------------|------------------|------------------|------------------||
B||------------------|------------------|------------------|------------------||
G||------------------|---------------4--|--3------------6--|--8---------------||
D||--2------------6--|--4------------4--|--1------------6--|--6---------------||
A||--2------------6--|--2------------2--|--1------------4--|--6---------------||
E||--0------------4--|--2---------------|------------------|------------------||
1 2 3 4 5 6 7 1 2 3 4 5 6 7 1 2 3 4 5 6 7 1 2 3 4 5 6 7

This next example uses the 1, 2 - 1, 2 - 1, 2, 3 pattern in sixteenth notes.


S S S S S S S S S S S S S S
E||--------------------------------------------|
B||--------------------------------13-12-------|
G||--------11-12-------12-11-------------12-11-|
D||--10-12-------10-12-------10-12-------------|
A||--------------------------------------------|
E||--------------------------------------------|
1 + 2 + 3 + 4 + 5 + 6 + 7 +

S S S S S S S S S S S S S S
----------------------------------------|
-----------------------------10---------|
----------11---------12---------12-11-9-|
--9-10-12----9-10-12----9-10------------|
----------------------------------------|
----------------------------------------|
1 + 2 + 3 + 4 + 5 + 6 + 7 +

S S S S S S S S S S S S S S
--------------------------------------------||
--------------------------------------------||
--------11-12-------12-14-------14----11----||
--12-14-------12-14-------12-14----14----10-||
--------------------------------------------||
--------------------------------------------||
1 + 2 + 3 + 4 + 5 + 6 + 7 +

5/8 Time Signatures.
5/8 means there are 5 beats in a measure and each eighth note (not quarter note) gets one beat. 5/8 is like 4/4 minus three eighth notes. There are many ways to count the eighth notes, on of the most popular is 1, 2 - 1, 2, 3. Here are some completed measures (don't forget, the counting is based on eighth notes).


H E Q Q E E E E E E S S S S S S S S S S
E||--------------|---------------|-----------------|----------------------||
B||--------------|---------------|-----------------|----------------------||
G||--------------|---------------|-----------------|----------------------||
D||--------------|---------------|-----------------|----------------------||
A||--------------|---------------|-----------------|----------------------||
E||--3--------3--|--3----3----3--|--3--3--3--3--3--|--3-3-3-3-3-3-3-3-3-3-||
1 2 3 4 5 1 2 3 4 5 1 2 3 4 5 1 + 2 + 3 + 4 + 5 +

5/8 Rhythms In Progressive Music.
midi sample (5/8 Rhythms)
This example uses a pattern of a quarter note (1, 2) and three eighth notes (3, 4, 5).


Q E E E Q E E E Q E E E Q E E E
E||-------------0--|----------0--2--|-------0--4--5--|--0----2--4--5--||
B||-------0--3-----|--0----1--------|--3-------------|----------------||
G||--2-------------|----------------|----------------|----------------||
D||----------------|----------------|----------------|----------------||
A||----------------|----------------|----------------|----------------||
E||----------------|----------------|----------------|----------------||
1 2 3 4 5 1 2 3 4 5 1 2 3 4 5

The next example emphisizes the 5/8 time signature by playing a 5 chord on the first beat in the measure.


E E E E E E E E E E E E E E E E E E E E
E||-----------------|-----------------|-----------------|-----------------|
B||-----------------|-----3-----------|-----1-----------|-----------------|
G||--7--8--7--------|--5-----5--3-----|--3-----3--1-----|--0--1--0--------|
D||--5--------8--6--|--3-----------6--|--1-----------3--|--0--------3--1--|
A||-----------------|-----------------|-----------------|-----------------|
E||-----------------|-----------------|-----------------|-----------------|
1 2 3 4 5 1 2 3 4 5 1 2 3 4 5 1 2 3 4 5

H E
--------------||
--------------||
--------------||
--0-----------||
--------------||
--------------||
1 2 3 4 5

The last example uses eighth notes and sixteenth notes.


E E E S S E S S E E E E
E||------------------|------------------||
B||------------------|------------------||
G||---------------2--|------------------||
D||-----------3-5----|--5-3-------------||
A||-----2--5---------|------5--2--------||
E||--3---------------|------------5--3--||
1 2 3 4 + 5 1 + 2 3 4 5

11/8 Time Signatures.
11/8 is 11 notes per measure and eighth notes get one beat. 11/8 is 4/4 plus three eighth notes. There are many ways to count the eighth notes in 11/8, one of the most popular is 1, 2, 3, 4 - 1, 2, 3, 4 - 1, 2, 3. You can also use 1, 2, 3 - 1, 2, 3 - 1, 2, 3 - 1, 2. These are my favorite way to count 11/8, but in order to make the music sound as original as possible you should make up your own ways of counting the eighth notes. It doesn't take much math to find numbers that, when added, give you 11. So the possibilities are endless. Here are some completed measures:


W Q. W Q E
E||--------------------------|---------------------------|
B||--------------------------|---------------------------|
G||--------------------------|---------------------------|
D||--------------------------|---------------------------|
A||--------------------------|---------------------------|
E||--3----------------3------|--3----------------3----3--|
1 2 3 4 5 6 7 8 9 10 11 1 2 3 4 5 6 7 8 9 10 11

W E E E Q Q Q Q Q E
----------------------------|------------------------------|
----------------------------|------------------------------|
----------------------------|------------------------------|
----------------------------|------------------------------|
----------------------------|------------------------------|
--3----------------3--3--3--|--3----3----3----3----3----3--|
1 2 3 4 5 6 7 8 9 10 11 1 2 3 4 5 6 7 8 9 10 11

E E E E E E E E E E E
-----------------------------------|
-----------------------------------|
-----------------------------------|
-----------------------------------|
-----------------------------------|
--3--3--3--3--3--3--3--3--3--3--3--|
1 2 3 4 5 6 7 8 9 10 11

S S S S S S S S S S S S S S S S S S S S S S
----------------------------------------------||
----------------------------------------------||
----------------------------------------------||
----------------------------------------------||
----------------------------------------------||
--3-3-3-3-3-3-3-3-3-3-3-3-3-3-3-3-3-3-3-3-3-3-||
1 + 2 + 3 + 4 + 5 + 6 + 7 + 8 + 9 + 10+ 11+

11/8 Rhythms In Progressive Music.
midi sample (11/8 Rhythms)
This example uses a whole note and a dotted quarter note.


Fm Gm7 Am Bm6
W Q. W Q.
E||--1----------------1------|--0----------------2------||
B||--1----------------3------|--1----------------3------||
G||--1----------------3------|--2-----------------------||
D||--3----------------0------|--2----------------6------||
A||--3-----------------------|--0----------------2------||
E||--1----------------3------|--------------------------||
1 2 3 4 5 6 7 8 9 10 11 1 2 3 4 5 6 7 8 9 10 11

This rather dark sounding progression uses quarter notes, eighth notes, and a dotted quarter note at the end.


Q Q E E E E Q E E E E E Q E E Q.
E||--------------------------------|--------------------------------||
B||--------------------------------|--------------------------------||
G||--------------------------------|-----------6--5----4--7---------||
D||--6----5----9--8--7--6--2----4--|--6--7--9--6--4----3--6--7------||
A||--6----5----9--8--7--6--2----4--|--6--7--9--4--3----2--5--6------||
E||--4----3----7--6--5--4--0----2--|--4--5--7----------------5------||
1 2 3 4 5 6 7 8 9 10 11 1 2 3 4 5 6 7 8 9 10 11

The next example is a melody using the 1, 2, 3, 4 - 1, 2, 3, 4 - 1, 2, 3 pattern.


E E E E E E E E E E E E E E E E E E E E E E
E||-----------------------------------|-----------------------------------||
B||-----------------------------------|-----------------------------------||
G||-----------------------------------|-----------------------------------||
D||-----------------------------------|--------------------------8--7-----||
A||-----------6-----------6--8--6-----|-----------6-----------6--------9--||
E||--6--8--9-----5--6--8-----------8--|--6--8--9-----5--6--8--------------||

This very complex rhythm is made up of eighth notes, dotted eighth notes, and sixteenth notes. Unless you are very good with dictating rhythm, I strongly suggest you use the midi or guitar pro file to listen to this.


E. E S E. E S E. E S E E
E||-----------------------------------||
B||-----------------------------------||
G||-----------------------------------||
D||--7---5--5-5---5--5-7---5--5-2--2--||
A||--7---5--5-7---5--5-7---5--5-2--2--||
E||--5---5--5-7---5--5-5---5--5-0--0--||




Practicing Odd Time Signatures

It takes a lot of practice to be able to fluently compose music in an odd time signature. A good way to practice is to take some songs you have written and add or subtract notes from them. If you're playing a chord progression, maybe add a quick arpeggio to the measure. If you're playing the same chord for 4 beats, why not take a beat out and put it in 3/4? This gives your music variety.

Grouping For Odd Time Signatures.
A simple way to compose in an odd time signature is to group quarter notes. For example, 5/4 has 5 quarter notes in a measure and 2 + 3 = 5. So, you can group the quarter notes by 2 and 3. Here is an example in 5/4:



Q Q Q Q Q
E||---------------------------||
B||---------------------------||
G||---------------------------||
D||----------------------5----||
A||-------5---------5---------||
E||--3---------3--------------||
1, 2- 1, 2, 3

See how they are grouped? 1, 2 - 1, 2, 3. It can also be grouped as 1, 2, 3 - 1, 2. In fact, it can be grouped as anything as long as it is equal to 5 (in 5/4).


Q Q Q Q Q
E||---------------------------||
B||---------------------------||
G||---------------------------||
D||------------5--------------||
A||-------5--------------5----||
E||--3--------------3---------||
1, 2, 3- 1, 2

It can get complicated when you add eighth notes because they would be equal .5. I prefer not to get that complicated, but if it works for you, use it. Here are some grouping ideas commonly used (they can all be reversed or put into different order):


5/4
---------------
1, 2 - 1, 2, 3
---------------
1, 2, 3 - 1, 2
---------------
1, 2 - 1, 2 - 1
---------------


6/4
------------------
1, 2, 3 - 1, 2, 3
------------------
1, 2 - 1, 2 - 1, 2
------------------
1, 2 - 1, 2, 3 - 1
------------------
1, 2, 3, 4 - 1, 2
------------------


7/4
---------------------
1, 2 - 1, 2 - 1, 2, 3
---------------------
1, 2, 3, 4 - 1, 2, 3
---------------------


(the eight notes are counted instead of the quarter notes)


5/8
---------------
1, 2 - 1, 2, 3
---------------
1, 2, 3 - 1, 2
---------------
1, 2 - 1, 2 - 1
---------------


7/8
---------------------
1, 2 - 1, 2 - 1, 2, 3
---------------------
1, 2, 3, 4 - 1, 2, 3
---------------------


11/8
------------------------------------
1, 2, 3 - 1, 2, 3 - 1, 2, 3 - 1, 2
------------------------------------
1, 2 - 1, 2 - 1, 2 - 1, 2 - 1, 2 - 1
------------------------------------
1, 2, 3, 4 - 1, 2, 3, 4 - 1, 2, 3

Every time you practice your guitar, try playing in an odd time signature by counting and grouping the notes. That way, you can get two things done at once. Another good idea is to make up beats in odd time signatures in your head while you are away from your guitar. This will get your mind used to hearing odd time signatures, and hopefully give you some original ideas. I hope you learned a lot from this lesson. If you found some of the material confusing, you ming want to consider taking a music theory class or getting help from a professional. Remember, there is no good substitute for a good teacher